It was Friday, 20^th October; the start of half-term; yippee! Jean and I started out on our usual walk to The Woodman - but then things started to go wrong! At the halfway point of our journey the heavens opened up and we hadn't an umbrella! To make matters worse, Jean realised she had left the tickets at home together with the mobile 'phone! (I said nowt at this stage because it's usually me who forgets tickets!) So, with no taxi to rescue us, we pressed on. As far as the tickets were concerned, I had no real worries! Having one half of The Bica Band living directly opposite does have its advantages!

Having gained entrance, we purchased our raffle tickets and drinks - and then dried off, in that order, after all - priorities!

The guest that night was to be Vin Garbutt and there was a strong rumour that there was to be a very special treat in store for one the resident singers!

The evening began with resident bands The Bica Band, followed by Nothing to Prove. Our friend Ewen, who was enjoying his first visit to The Woodman, was very impressed. (Come on Ewen, membership is only four quid!)

Next, Bryn Phillips gave a brilliant performance of his song 'Dead Man Ride' - after having the whole audience in stitches with the touching, but comically true story, involving the stealing of a corpse from a mortuary - and its being driven round Copenhagen glued on the back of a motorbike!

The time came for Vin's entrance and, as normal, he began his 'spot' with his characteristic 'worse-for-wear busker' routine before bursting into song and showing why he is such a draw. Even his breaking of a guitar string and its subsequent nifty replacement by Barry provided Vin with another opportunity to clown around. He claimed that the other strings were now suffering from fatigue and that only the new one was of any use! His remark that he was 'confused because the thick one is now in the middle' was greeted with howls of laughter!

Vin's mixture of amusing anecdotes and emotive songs held us spellbound and the first half of the evening was over far too soon.

Well into the second half, and after a sensitive explanation regarding interpretations of other singers' works, Vin announced that he was to going to perform Bryn Phillips' song 'Silver and Gold'. The applause was deafening!

I had last heard this song, which is a favourite of mine, sung by Bryn at The Dormston Centre, earlier this month. It was a surprise for Bryn at this venue too, because he was joined on stage by a forty-strong Czech girl choir that had been secretly taught the words to the chorus! He was 'gobsmacked' then - but, the night Vin Garbutt sang it! Wow! You just had to be there! And Bryn? His face was a picture and he was belting out the chorus with the rest of us. A memorable evening!

Well, was this a night to remember!

All those songs over all those years!! and Julie was as fresh and sharp as she was when I first saw her back in the '60's.

This diminutive Californian/Mexican lady with the long black hair gave us an experience that won't be capped for a long time. The Woodman was packed with standing room only long before the start time of 8.30 p.m. The songs of the floor singers were top quality as was their performance. (Was this because they had such a famous and talented artist listening to them?)

Julie started her first spot with The Ballad of Doris Kathryn Rodehaver from her new album Free my Spirit. It is a tribute to her mother. It also reveals that she was born in 1938. However you may already know this especially if you have her double album 'You can't kill the spirit' recorded at Queen Elizabeth Hall London in 1998 to celebrate her 60^th. Birthday.

She then continued with a selection during her two spots that included well remembered favourites, Woody Guthrie's Plane crash at Los Gatos and Bob Dylan's 'Don't think twice it's alright'. Her two songs sung in Spanish were particularly well received.

My favourite was Bob Dylan's 'Hard rains A gonna fall'.

Her encore was followed by shouts for more, but all good things come to an end.

I thoroughly enjoyed the evening, as did everyone there.

 Quote from Julie:

 Review - Kieran Halpin 1 December 2000
Joan Kearton-Jones

 December 1st 2000 was a treat for me given Kieran Halpin was at the Woodman. However, it turned out to be a double treat when in the second half he was joined by Maartin Alcock. Kieran was on form, singing many of his past compositions, but also including a number from his latest CD 'Jangle'. He also announced that 'Acoustic' had been 're-jigged' and re-released.

Kieran's rough voice always adds a certain depth to his singing. It seems to make some of his songs more powerful, even though they stand tall on lyrics alone.

Maart on guitar, and also later on fretless base, added the icing to the cake.

I know I am biased, but I also know a lot of other people thoroughly enjoyed the evening too.

 Review - Ian Bruce - 8 December 2001
Steve Walker

I have never understood poetry!

That may seem a somewhat severe statement from someone who has spent his entire life immersed in both books and music of varying degrees of quality, but this staging post between the written word and its melodic counterpoint has always managed to escape me.

Quite often I will read a line or two penned by some modern Marvell and published in the Sunday papers. Having read the lines and failed utterly to understand them, I will then hold them up to the light, invert them, study their reflection in a mirror, hoping some hidden meaning will reveal itself, but all to no avail. On one memorable occasion a poem by Ted Hughes was published in tribute to his passing. The poem based upon an ancient mythology, that I must have overlooked whilst hacking my way through Woodwork, was considered so complex that a line by line explanation was printed alongside it. I failed , completely and utterly to even understand the explanation.

Now what, I hear you ask, has this preamble to do with Ian Bruce and his recent appearance at our Folk Club?

Because of this poetic dyxlesia (sic) I have always been particularly grateful to any artist who can enable me to appreciate poetry by the simple approach of setting it to music. Much of Ian's repertoire this evening was his interpretation of the works of Robert Burns taken from his most recent album "Alloway Tales", which in turn has been inspired by the massive Linn records project (currently running at 8 albums) to record all of the Scottish Bards ballads. Ian's involvement in this project has obviously been a labour of love as every selection he performed from this album was done so with a depth of feeling and emotion that brought the original works very much back to life.

There have of course been numerous exponents of the art of setting poetry to music over the years, possibly the first to influence me in this particular manner being my Mother. As a young schoolgirl of Bilston in the 1920's she, amongst others, had been chosen to recite in a musical fashion, several of the poems of Sir Henry Newbolt, upon the occasion of the great man returning to visit the town of his birth. Thus it was that I learnt to sing the words of Rillaby Rill at my Mothers knee. (Though I was thirty-one at the time).

I did suggest to Mick Harrington late one Friday night whilst in my cups that the Folk club might appreciate a rendition of "Drake is in his Hammock" one of Sir Henry's classic pieces. He replied, in a rather churlish manner, that they would rather have his Banjo playing???? A matter of opinion thought I.

There was also in the seventies a setting of much of John Betjaman's work to music, which did not, in my opinion, greatly enhance the originally written word. However that veteran of the flower power era Country Joe McDonald did record an album of First World War poems that were the work of Robert W Service, an album that did point me towards reading the rest of his works. And who in the folk world can forget the contribution made by Peter Bellamy in setting many of Kipling's fine works to a lively tune.

Once again I must return to Ian Bruce, who, when I have seen him in the past has always tended to concentrate upon his own material, which is no bad thing when you consider the strength of his song writing talent. He is a songwriter of such skill and imagination that our resident artists feel obliged to pay tribute to him by singing his most popular songs before he has a chance to. Despite Ian being a 6-foot plus Scotsman brave enough to wear leather dungarees in public, he took no offence at this public plagiarism and indeed wished the band well, in a manner familiar to anyone who has ever attended any England v Scotland sporting fixture. (See heckles and quotes).

As well as the songs from the Robert Burns collection Ian also performed a number of traditional Scottish songs from his previous album Hodden Grey. I was grateful that an established songwriter could find the space and time to remind us firstly of how hauntingly beautiful many of these songs are, and secondly that you do not need to add a drum track to make such music accessible to the listening audience.

An evening well worth remembering as a modern wordsmith (not at all dissimilar to Rob Roy in appearance) found both the space and the time to pay fitting tribute to the works of his predecessors, both known and unknown.

Review - Jeremy Taylor - 19 January 2001
Corrine Priest

I've always enjoyed Jeremy Taylor's singing and songs. It's the satirical bite that I particularly like.

Barry first saw Jeremy in the sixties, at the Royal Oak folk club, Halesowen. Even though this was pre 'Jobsworth', he was highly entertaining, and very, very funny.

Jeremy Taylor is known throughout South Africa for his comic song 'Ag Pleez Daddy', which he sang for us. He also gave us 'Jobsworth', Lift Girls Lament', 'Capitalist Dream', 'Transplant Calypso', and 'Prawns in the game'. 'Lift Girls Lament' was banned by the South African Broadcasting Corporation as 'being insulting to a selection of the population' - that's the way to get a song to be popular.

But I equally enjoy his stories and we were certainly entertained with these during the course of the evening. He has a gift of pausing that leaves you hanging on his words waiting for the next line. In the past we have heard all about the telephone exchange in his village in South Africa. This time we heard all about his escapades with the customs official when he entered and left South Africa.

Jeremy first appeared on the London stage in 1963 with the musical revue. He has been writing his own songs and doing his own thing ever since. He has had a two-year stage partnership with Spike Milligan. He returned to South Africa in 1979 to play one-man shows. He returned to Britain in 1994 to lecture on South Africa and now lives in Montgomeryshire. Luckily for us he comes to visit the Woodman every year. The standard is always good, dare I say that he matures with age.

If you get the chance - go to see him!

Review - Clive Carroll - 26 January 2001
James Brown

"You've got the main act looking worried" someone remarked to me after I opened the evenings' entertainment at the Woodman. That this was clearly not the case became overwhelmingly apparent within the first bar of Clive's opening tune 'One'. Clive's technique was certainly something at which to wonder. His dexterity, speed and sheer accuracy and control all underlined his mastery of the fret board as he worked his way through tune after intricate tune. Gasps of amazement and delight and disbelieving head shaking worked their way round the audience during the first five tunes. But then dissent began to grow among certain factions.

What criticism could possibly be leveled at wonder boy Clive? There were mutterings of 'too flash' 'needs some songs' 'very clever' and so on. It was true that what Clive had in technique and mastery he lacked in catchy tunes and songs. However, tunes like 'Clonlara', a soulful reflection on the Scottish landscape and 'Tarrega', an excursion into Spanish passion and Mediterranean themes stood out from the rest as being more involving and listenable than say 'Aerial Discoveries', which was a busy exploration of the innovative work and techniques of Michael Hedges. Clive finished his first set with a collection of Irish pieces taking him comfortably back to his roots. These tunes and 'lost innocence' (from the album) being Clive's favourite at the moment.

Into the second half some members of the audience persuaded Clive to play an impromptu arrangement of 'Dueling Banjos'. Clive played the first part at the top of the banjo neck, the second at the bottom. The speed at which Clive changed between the two parts was again impressive and he sheltered himself from the whooping applause behind a thin veil of modesty.

Over the course of the evening the Woodman crowd were treated to a whistle-stop tour of guitar styles from around the world. Talking to Clive later I discovered that the jazz piece he played was an improvisation of which even jazz guitar aficionado Martin Taylor would have been proud. 

I know if my right hand technique were half as good as Clive's I'm sure I too would be a happy man!

Review - The Gravelly Hillbillies - 2 February 2001
Paul Bedingfield

 This was the night that I had been waiting for, for some time (having developed withdrawal symptoms from not having seen the guys since last summer's festival scene). Moreover, I had volunteered to write this review. However, despite some serious note - taking, the overwhelming experience on the night contributed to an unexpected (?) lack of sobriety on my part and I lost my note book so what follows comes from memory........ 

As part of Nothing To Prove I played a part in the first bit of audience warming - up, although the Gravelly link had already started as Tony Edwards called out some advice on "head nodding" and generally looking "laid back" as I ventured in to bass guitar on one song. It has to be said that if I were anywhere near as laid back as the man himself I'd have been horizontal! Thanks to Trev, Deb and Derry for putting up with my lurgified singing (once again). Bryn then played an excellent set, including a memorable prop - assisted version of Fred Wedlock's "The Vicar and the frog". It was noticeable that the death toll for the set was low compared to other occasions (perhaps Bryn was conscious of the impending upbeat mood). 

Up on stage the lads got plugged in and completed a quick sound check - front man Richard Heath setting the tone by asking "can you hear the banjo?" ("yes!"). "Better turn it off then" was his retort. Mind you, this was one of those (rare) occasions where banjo jokes didn't apply. Stevie Poole played brilliantly - his rendition of "Mary hold the candle while I shave the chicken's lip" was of such a calibre that mere mortals could only perspire (carefully chosen word) to do half as well. In fact the entire band played a blinder, and I was really impressed by Gary Edwards lead licks during the evening (who's been practising then?). 

The audience had warmed instantly to the skifflebilly extravaganza and the euphoric atmosphere continued for the entire evening, characterised by foot stomping, glass tapping, train whistling, percussion banging (is that a crime?) beer swilling audience participation. If you weren't there and you're reading this, you missed a great time. Catch these fellas whenever your schedule allows - you won't be disappointed!

Review - Fairport Convention (Birmingham Symphony Hall) - 11 February 2001
Pete Brown

What a good night this was!

The evening started with Steve Tilston, who gave a superb and polished performance. His songs were sensitively sung and the balance between voice and guitar was just right. Next we were sung to by All about Eve, who were not at their best. However, this was the prelude to who we had really come to see, Fairport Convention.

There was an excellent turnout from the Woodman Folk Club, and they were certainly not disappointed even allowing for the long trip to foreign territory, Birmingham's Symphony Hall. I did not find any ice creams at half time, so had to make do with two bottles of beer. Luckily we were able to drink at a leisurely pace because being unimpressed with All about Eve we had exited before the end of their spot. This was not true for others who were still waiting to be served when we went back to our seats on the top shelf for the main act.

Fairport were good, well they were more than that, everything they did was so professional, so polished, so balanced that the time passed too quickly. I suddenly realised that we were cheering for an encore. The highlights for me were, Who knows where the time goes - a tribute to Sandy Denny, The drumming of Gerry Conway, never intrusive but totally expressive and the contribution of Chris Leslie. Of course Simon, Ric and Dave were their usual impressive selves. Try their new album 'The Wood and the Wire'.

See you all at Cropredy.

Review - Shave the Monkey - Woodman 30^th Anniversary, 23 February 2001
Joan Wells 

The Woodman celebrated its 30^th birthday with panache and its usual excellent mix of musical styles.

To get us all in the party mood, Bryn Phillips was the obvious choice to start the evening. He nobly avoided his favoured songs of doom and gloom! Nothing to Prove and the Bica Band followed. They all proved they could play competently unplugged and provided a nostalgic reminder of pre-PA.days at the Woodman.

Surviving as a folk club for 30 years deserved a lively celebration and we were not disappointed with the first set by Shave the Monkey.

Many of the tunes/songs were from their latest CD 'Good luck Mr Gorsky'. Duncan Moss on Hurdy-Gurdy and Bagpipes could not be ignored. However the drones on these two instruments are not to everyone's taste, but they do give the Group their distinctive sound.

Carolyn Sheppard was particularly strong and was clearly enjoying herself. I was worried that Kevin Neaves on drums would dominate the music but he kept the volume at an acceptable level.

The big O could not have been celebrated without Mick Harrington, who despite a few unkind protestations took to the stage in the second half.

He had clearly taken a lot of trouble to impress the packed audience with his quality of rehearsal and his impeccable dress sense. This was understandable; Mick was one of the founder members of the Woodman all those years ago. Mick held it together through good times and lean times. Thirty years on and Mick turned in a performance to be reckoned with. His version of White Cockade even bought a tear to the eye of Genevieve Tudor.

Shave the Monkey returned to delight us with more tunes and songs. an exuberant mixture, in a larger room we could have had a ceilidh. It is difficult to single out one musician as it is with some bands. They were all good.

Ian Munro commented that he had never seen so many instruments on the stage at the Woodman. I think this summed it up. They are all accomplished musicians.

Of all the songs in the second set I really liked St. Georges Banner, which I first heard on the 1997 Huntingdon Folk CD.

It was a very successful night for a successful club. If you want to find out more try www.shavethemonkey.net

Review - Gordon Tyrrall - Woodman 9 March 2001
Mick Harrington

As the lead singer of Dab Hand Gordon Tyrrall built up a large following of supporters on the folk scene, but since returning to the circuit as a soloist, his prowess as a musician, song collector and performer has blossomed. Starting with the late lamented Peter Bellamy's 'Sante Fe Trail' Gordon soon engaged the audience, with its haunting Hank Williams-like yodel. Gordon's reputation has been built on his interpretation of traditional material, but a close analysis of his performance indicates that this now only makes up a relatively small percentage of his act. Highlights of his first set included the thought provoking self-penned 'Song for Stefan Kiszko' and a delightful John Clare poem, for which Gordon has added a tune, returning to his roots for the' Ballad of the Factory Maid'. An evening with Gordon inevitably includes a couple of tune sets, both on the wooden flute and the guitar , though not simultaneously. I was particularly smitten by his guitar playing on this occasion, a set of hornpipes being especially catchy. Gordon continued the wide range of material during his second set, with Dylan's 'Not dark yet'
and his own ' Ballad of Sickness and Health ' .

Another great performance, from an artist passionate about his work, long may he continue!

 Review - Malcolm Jeffrey (Feature Night) - 16 March 2001
Trevor Durden

As the Four Tops once said - oh what a night. 12 different acts graced the stage, bringing an unbelievable variety of music - what more could you want from your local folk club?

The club regulars all contributed, the BICA Band, in fine voice, setting the standard for the rest of the evening. Nothing to Prove acquitted themselves admirably with the unenviable task of following the droll Mr Bryn Phillips ably assisted by the ladies from the Crag Band who successfully (mis) handled Bryn's visual chorus aids.

Contributions to the evening came from Viv, Brian Alden and, sadly for the last time the splendid Ian Goodsman. The Woodman's loss is New Zealand's gain and I am sure we all wish him well for the future.

Particularly pleasing was to see the return of a number of old friends; namely Pete Boddis, Bob Hadley and Clive. Welcome back, we look forward to seeing you again soon. A newcomer to the club was Sue Paynter who gave us 2 songs; more would have been welcome but time constraints prevented this. Come again Sue, we enjoyed you very much

And so to the featured artist, Malcolm Jeffrey. Malcolm is a bit special. His material is drawn from the works of Jake Thackery, Tom Lehrer to Martin Carthy. Malcolm is a consummate entertainer, delivering the songs in a polished, laconic style with the disarming look of a naughty schoolboy. Who can forget the amazing 4 part harmony with himself? How did he do it? - I'm not telling you - if you want to know you will have to get your club organiser to book him.

To give you more idea of what to expect from malcolm check his website which can be found on the resident's page.

So ended a magnificent evenings' entertainment. Ian thanked everyone who contributed with a special mention to Mick Harrington for not playing the banjo.

>>Report Ends<< Hoorah as Malcolm would say.

 Review - Risky Business 23 March 2001
Alan Taylor (Not the famous one!)

This was the third time I had seen "Risky Business" so I knew I was in for a great night's entertainment. There was a good atmosphere and the room was newly decorated (very posh, Ruth said), and the beer was good. What more could you want?

Right from the very first song "Nanci Griffith" to the last, "Something in Red", every one was a gem. "The Business" choose their covers well. I particularly like Jimmy Macarthy songs, and Rosie Hardman's "Louisiana" is a favourite. Yet in Dave Walmisley, they have a special songwriter of their own. Maybe not so prolific as some. But they are all good. "Harbour in the Storm", "Rosemary's Garden", "Pictures of You" and the rest are all great songs. My favourite is "The Raven", an anti-war song with depth and feeling.

Even so, all these wonderful songs would mean nothing without a voice to sing them, and what a voice. The husky Ruth Fuga just oozes quality. Every word crystal clear. With a delivery as strong as "Pete Coe", that holds you from the first note to the last.

"The Business" have been together for many years, and it certainly shows. Their skilled musicianship and professionalism shine through. Both Dave and Ken Powell are fine guitarists. They compliment each other well, particularly with their very sound vocals.

The only disappointment was that I didn't win the raffle, so I had to fork out some of my redundancy money on a CD. I chose "The Raven" in truth. A fantastic buy, just like the live performance, constant from start to finish. After the gig, chat was good. Everyone enjoyed themselves. Mick Harrington is writing some new verses, for "Something in Red", the colours burf and puce were mentioned. Only Mick's got no blinds in his windows, so it's curtains for him.

Well that's about it. Except to reiterate what a good night it was. But then we are used to that at "The Woodman".

 Review - Jez Lowe 20 April 2001
Malcolm Jeffrey

 I used to go and see Jez Lowe play a lot, but for some reason the last time I went to see him was in 1988, which is ages ago : also, after many near misses and as a fellow Northerner, it’s long been Bob’s ambition to see him live at all. a recent CD, "The Parish Notices", showed that his singing and songwriting are still bang on, so we set off to the Woodman to see if Mr Lowe still owns a stripey t-shirt. hurray ! we walk in and there he is, comfortingly resplendent in… a stripey t-shirt, just like the Old Days. Jez is 13 years older (so am I), is a bit greyer and laughter-lined (and me) but otherwise is a very familiar sight : however, the Nik Kershaw or Alan Partridge haircuts often seen in the ‘80’s have been sensibly replaced by a Lennie Bennett barnet instead. The Woodman is packed tonight, which is good to see : we get the beer and raffle tickets and while Medium Paul entertains us with some super singing, Viv performs a super "The Moth" and Bryn’s "Dead Man Ride" is a Lehreresque epic, I begin to look forward to seeing how much of Jez’s current set I will actually recognise after 13 years.

Ian calls Jez up to the stage to a rousing welcome, and after the first few bars of his first song, a chorus-friendly "A Call For The North Country", all of my uncertainties are allayed immediately ! Jez’s fine, clear, accurate Northern voice has every bit of it’s previous quality, and he still has the laconic delivery which can communicate affection, gentle sarcasm, scorn and emotion so effortlessly and economically through his songwriting. however, the major difference between Jez Then and Now that struck me was that he’s an immeasurably more polished instrumentalist : I remember him being a good picker in predominately standard tuning or dropped D, but he’s certainly been putting the practice in for the last 13 years, as tonight he stays in open tuning all evening, producing some very fine tune picking and riffs which often syncopate with his singing in a very tricky and polished fashion indeed. the Woodman crowd join in the chorus with traditional gusto and Jez seems pleased to be responded to : cheerily, while struggling to fine-tune his guitar, he says that if any of us fancy stage-diving during the gig then we can bugger off !

Jez’s first half is an entertaining mixture of chorus singing, ballads and fine playing, though with infrequent retuning problems : and I’m delighted to find that I have heard all but one of the songs before, although two of them I know from other people’s covers in folk clubs. we get a splendid "Black Diamonds" and "Propping", a sensitive "London Danny" with chorus pedal effect, and a switch to an equally well-played cittern for "The Ballad Of The Latch-Key Lover" (original working title : "The Ballad Of The Pathetic Git", we’re told !) which features some good harmonica tune-playing too. Jez re-tunes his cittern to an open minor (not seen THAT before !) for a bitter "Spitting Cousins", stays in slower mood for a melancholy "The Bergen" and delights me with a super "Tom-Tom", my favourite from the "Parish Notices" album and which I was going to ask him to do if he didn’t beat me to it !

After a break, a spot from meself (manfully stabbing at "The Devil And The Feathery Wife" in standard tuning) and the raffle (spawny Bob wins a Jez Lowe CD !), Jez is back for, if anything, a more interesting and well-played second set, with this time several of the songs unknown to me. he plays us a rousing "Old Bones", the wistful "Song Of An Indian Lass", the strangely familiar (as in "the BICA Band do it") "Another Man’s Wife", and the involved and amusing anecdote "The Man Who Won The Car" (a vehicle which Obi-Wan Kenobi would have pulled birds in, we’re told…!). then he announces that Bev Sanders, an ex-Bad Penny, has accompanied him tonight and she joins him on stage : they both treat us to "The Crake In The Morning" and a tongue-in-cheek "The Bulldog Breed", with harmony singing sounding good and some particularly inventive riffing from Mr Lowe.

after Bev departs, we all join in a spirited rendition of "High Part Of The Town", Jez gives us an excellently played "Tenterhooks", and finishes the second set with a crowd-pleasing "Back In Durham Gaol" which evokes traditional Woodman harmonising from the audience. asked back on for an encore, he calls Bev the ex-Bad Penny back to finish the night with a poignant and rather interesting duet called "Greek Lightning", with each singer playing the part of either half of a couple in a strained but ultimately loving relationship : an intriguing note to end the evening on and the Woodman crowd show loud appreciation after a fine evening’s entertainment. all this and a brave sacrificing of his own banjo spot by Mick Harrington despite the temptation of playing with a Dempsey-class bodhran player…

The verdict ? after all this time, I found Jez Lowe to have developed hugely as a musician whilst still retaining his entertaining, droll personality, his wit and warmth, and all of his singing and songwriting skills : and the few songs I didn’t know were engaging or easily picked up. it all added up to a top evening’s entertainment for those present and I’ll try not to take such a long time to see him again !

 Review - Peter Knight & Felicity Buirski - 27 April 2001
Ian Munro

 In front of a disappointing audience in terms of numbers the first session consisted of Peter Knight playing a range of music on the violin which was at times both atmospheric and innovative from a musician obviously at one with the instrument.

The second session featured Felicity with a voice many would kill for singing powerful self penned songs accompanied by Peter on keyboards and violin.

However it has to be said that the performance split the audience three ways, there were the devotee's who obviously appreciated the whole evening; there were those who were open to something new or different but were not quite
sure what to make of it, and there were those who did not connect at all, possibly due to the material and lack of opportunity for the audience to participate.

In this respect the material may have been too self indulgent for the folk club audience and as someone put it "More Symphony Hall than folk club". That said it was an excellent evening with much to commend it and it has stimulated more discussion than any act booked during the past weeks.

I thought she was great! Peter Knight was very different but most curious and well worth seeing. A change from the 'traditional' folk artists. I don't know where you find such varied and talented performers but please keep looking.

Thanks,

Jim Yarwood

This gig had been postponed from 16.9.00, due to the petrol crisis, and perhaps due to other commitments - the beer festival at 'Katy Fitzgeralds', the support was not 'The Bushbury's' as listed, but Eddie Morton doing a solo spot. Although he did an excellent set, the audience were restive for the main attraction. He failed to get any attention, despite his costume of shorts bum bag, and great big bovver boots, until the last number which was a lovely unaccompanied piece.

LINDISFARNE took the stage with three original members, Roy Laidlaw, Rod Clement, who looks older than God's dog, and Billy Mitchell along with two newer members whose names I didn't catch - sorry lads. The whole night was one of nostalgia, with audience participation at maximum for songs such as 'Meet Me On The Corner', 'Lady Eleanor', 'Mr Dreamseller' and 'Run For Home' There were two that I seemed to have heard before somewhere 'Born At The Right Time' and 'One Day'. The most rousing rendition was for 'Fog On The Tyne' - especially the naughty bit - you know the bit I mean don't you.

Unfortunately for those of us who see new material as the proof that the band is still alive and not just relying on their past for a living, new numbers were very thin on the ground, which is a shame, because this bands repertoire is vast. Only one or two were tried, with 'The Devil of the North' featuring in the encore.

Nevertheless a great night was had by all, a great set by a great band. Keep rocking lads.

 The first warm sunny Friday night this year meant that a few of the usual faces were missing, but those who made it to the Woodman were not disappointed with local Folk/Rock band SPLATT !

Four musicians playing an amazing ten instruments between them added up to another great night at the Woodman. Paul, the lead singer, set a fast and furious pace, singing everything from Donovan to Christie Moore, from John Barleycorn to sea shanties. He lived up to his reputation of making a solitary tambourine sound like a full set of drums - you have to hear it for yourself to know it’s true! The rest of the band - Andy, another Paul and Nick - were just as lively, Andy helping out on vocals now and then, Paul on double bass and Nick the wild fiddle player. If you like your music loud, with a smattering of new arrangements of old standards and with a huge dollop of raw energy, you’ll like SPLATT! Wherever did they get a name like that ?

Woodman resident, Bryn Phillips, treated us to a topical General Election Dance - a slow tango ? This talented singer-songwriter is always popular at the Woodman and his version of Cigarettes and Whisky and Wild, Wild Woman went down a treat under its new guise of Ovaltine, Horlicks and Mild Mannered Women.

The Woodman’s own Jake Thackerey, aka Malcolm Jeffrey tried to introduce us to the delights of Shakespeare’s Hamlet – "To be or not to be" and "Alas poor Yorick" - that Hamlet. Reduced from a 3 hour play to not much more than 3 minutes, but then Malcolm does sing faster than you would think possible.

So all in all another enjoyable night at the Woodman – still going strong after 30 years – no wonder it’s known as the best folk club in the Midlands.

 On a hot and sultry evening, Bob Curry and I head off for the Woodman, eager to finally see Splatt! the band’s lead singer, Paul Beadle, is a regular performer at the Mitre’s acoustic night on a Monday and is a consistent entertainer of the highest order – passionate and enthusiastic, with a faultless, percussive guitar technique, a fine singing voice… and then there’s the tambourine, of course. unique in my experience (and in that of anyone else I’ve ever spoken to), Paul has evolved playing the tambourine far beyond its traditional role of something to be jingled and tapped by Jon Anderson or the Salvation Army, into a evocative percussive instrument capable of a wide variety of tones, cadences and syncopation, squeezing the tambourine skin to change its tension and tone, and using controlled, sharp movements to make the little cymbals ring in a more than usually rhythmic fashion. you may have heard this said before, but while Paul’s playing the tambourine, if you close your eyes you could believe that a minimal drumkit was on stage, such is the variety of sounds being produced by Paul’s artful playing from this usually humble item of percussion.

so Bob and I get the beer and pork crunch and take our seats in time to be entertained by the warm-up spots. first up are Barry and Corrine, treating us to a super spot. Corrine is always an unsung, but practiced, fluent guitarist and tune-picker both in open and standard tuning, and tonight she’s super, excellent, and her husband Barry is on equally fine voice this evening too : even an odd, involuntary yelping noise from a mystery lady (un-named for legal reasons) in the naughty corner, half way through a song, doesn’t put them off their stride ! next, Bryn takes to the stage to give us a limited edition "General Election Dance" – almost too satirical to be funny ! – and despite his own warnings about "wild, wild women", we even get a rare treat of the Brynnettes during "Chico" too (despite Ann’s garlicy proclivities !). finally, the BICA band step back from the mikes to do a tight accapella "The Sound Of Singing", and Ann and Corrine do an unrehearsed but still fine "Thorn Upon The Rose" before Ian calls Splatt! to the stage.

all of the band but Paul have arrived lateish and a hasty sound check has left the volume knob at pub gig level, so consequently the first half is a tad noisy, but after the first couple of numbers, namely "Brown-Eyed Girl" and Creedence’s "Bad Moon Rising", you’ve forgotten all that : oddly reminiscent of a ceilidh band, Splatt! are a foot-tapping, infectious folk four-piece with more than a flare of Celtic fire to them. featuring a tight double-bass player, a co-singer/guitarist who doubles on mandolin and can turn his hand to harmonica and whistle, and a younger violin player on electric fiddle, the band are pretty tight and often quite inventive : Paul (who, as if to spite his legend, stays off tambourine for most of the set) takes the lion’s share of the vocals, accompanying himself on energetic mandolin and his usual quality guitar riffing, and visually he’s the most intense, frenetic member of the band, throwing himself wholly into his performance from the off, bobbing, foot-tapping, shimmying his way to early perspiration on the hot evening and demonstrably enjoying every minute.

Splatt! do Donovan’s "Gold Watch Blues" with some nifty, somehow classical work from the fiddle player, who plays with a white ribbon stretched the length of his bow and trailing off the end, which flails and furls in the air as he plays. he has a wide-eyed, mischievous air of embarrassment about him somehow, as if he’s suddenly seen his entire family at the back watching him and he’s self-conscious about it : to underline the deftness of his playing, Paul tells me later that he’s only been with the band three weeks and as such proves remarkably tight all evening. Leon Rosselson’s "World Turned Upside Down" is next, a cry against fat-cat capitalism, and then Steve Earle’s gentler "The Mountain", featuring some nice double-bass work : then a passionate and vigorous "Raggle-Taggle Gypsies" and "John Barleycorn" make a pair of songs befitting the Woodman’s trad folkie pedigree. a fiddle solo during little Sir John’s song is played with a wah-wah pedal – most unusual (the last person I saw to do that was watching Slade’s great bass-player Jimmy Lea in 1980 !) but carried off with panache. Splatt! then hit us with a psychedelic, echoing and in-your-face "When Men Were Only Men", with Paul gyrating at full pelt and giving it the full treatment : after it ends, Bob says to me "truly, they are the Grateful Dead of folk" which sums it all up ! a nicely played instrumental "The Maid Behind The Bar", and a slow, atmospheric "Ride On" which finally features Paul on tambourine and flute, bring us up to the interval and the post-Uptonly small audience show warm appreciation, seemingly exhausted by some sort of osmosis just from watching Paul play his heart out !

for an interval spot, your reviewer has a good try at Ian MacNaughtan’s "Our Hamlet" - only one mistake - and is rather splendidly rewarded by winning the raffle (I assume if I’d got it completely right, a night out with the Brynnettes would have been on the cards !). then Splatt! are back on, having dropped the volume level a notch, for a more balanced-sounding second half, beginning with Andy, the other singer, leading them through a tight air-and-reel instrumental, after which Peter Gabriel’s "Biko" and an interesting "Out Of My Window" are equally well-played. one I’ve played with Paul, the one-chord "As I Roved Out", is inventive and intense, and Ann’s request for "Child Of Earth" features some fine guitar chord work and vocalising from Mr Beadle. after a jauntier "The Good Ship Kangaroo", Splatt! pull out all of the stops for a fatiguing and fiery "Johnny Jump Up", a cautionary tale for those of us in the audience partial to cider… then, a bouncy, almost cajun medley of "Let’s Stick Together/Long Tall Glasses" brings the night to a close and Splatt! are sincerely applauded for their efforts. after Ian solicits the traditional promise of drinking-up-and-passing-the-glasses-back from us, Splatt! give us a rousing "Ordinary Man" and then it’s time to go home.

the verdict ? I thought that Splatt! were a thoroughly entertaining band and enhanced by their top new fiddle player, the sound has become much more flexible and who knows what they’ll be able to turn their hand to with this extra dimension ? the band are playing lots of local dates over the next 6 months too, so there are plenty of chances to see Splatt!’s brand of infectious, energetic folk music, and I’ll be there myself at some of them : my advice is for you to turn up too. there wasn’t enough of Paul’s tambourine for me - but you can’t have everything, can you ?

What a night. Bica Band started the evening. The club is fortunate to have such a talented resident group. They certainly set the mood for what was to come. Bryn Philips followed with his gloom and despondency. I have known Bryn for thirty years and cheerful songs are not in his repertoire. After the warm up acts we were into the guest of the evening - Lee Collinson. What a treat! He wrote his programme during the warm up acts. Complete with super glued nails he showed us how a guitar should be played even in Appalachian banjo style (Salt River, Grey eagle) and bottle neck slide. "I don’t write songs I nick other peoples." The great thing about non singer song writers is that they can get so much variety in their act. Other numbers were Feels Like Home to Me and Chocolate Jesus. By the interval everyone was with him.

Bryn came back to start the second session and threw caution to the wind and played slide – Lee held his head in admiration or pain? I don’t know.

Lee came back, it was fascinating as someone who uses electronic tuning to see him tune by ear. "I prefer tunings that say something; BADEGG." He did a new one for him – One Fine Day. Lee’s easy chat and skilled guitar playing made it an evening to remember.

 Looking round the audience I couldn't help but question where are the young supporters of folk? How can we drag them in? All up and coming pop stars could have learned a great deal from Lee. Definitely an act that should be rebooked. 

I remember seeing Roger McGuinn with the Byrds at Birmingham Town Hall in the early 70's, so his solo concert at Huntingdon Hall, Worcester was a trip down memory lane and a rare opportunity to hear a veteran of the American Folk/Rock scene.

He did not disappoint. Opening with Bob Dylan's "My Back Pages", McGuinn switched effortlessly from electric to 12-string guitar, providing interesting musical anecdotes en route and performing songs from the Byrds' back catalogue during his association with Gene Clark and David Crosby as well as exploring his roots from his Gate Of Horn folk club days.

The Byrds were always renowned for their covers of Dylan compositions, and during the week when the Bard turned 60, it was no surprise that McGuinn's set included a fair smattering of his songs, remembering to sing "Pick up your money and pack up your tent" on "You Ain't goin' Nowhere" as well as versions of "It's Alright Ma (I'm only bleeding)", "Chimes Of Freedom", and, of course, an extended rendition (though not the full four verses) of the 1965 hit "Mr. Tambourine Man" - the song that first brought the Byrds to the attention of British and American audiences.

Established hits "Ballad Of Easy Rider", "Chestnut Mare", "Mr. Spaceman", "So You Want To Be A Rock 'N' Roll Star" and Pete Seeger's "Turn! Turn! Turn!" were included before finishing the main set with a storming acoustic version of "Eight Miles High", where his guitar solo echoed marvelously around the old
church venue.

He returned on stage to mention his forthcoming CD release "Treasures From The Folk Den", a collaboration with noted guest folk musicians of old, and to perform two sets of encores, ending the evening with his own composition, "May The Road Rise", written with his wife and including the lyrics "May the road rise to meet you and the wind be at your back", Lovely sentiments on which to leave an enthusiastic and fully appreciative audience on this nostalgic musical journey through the 60's and 70's.

He had only played on stage for an hour and twenty minutes, but it is difficult to see how he could have included more. It was still too late to return to the Woodman for the end of Lee Collinson, so we retired to the bar to reminisce further about our old hippy days.

Well it’s not a folk festival as a lot of people thought that's for sure, but it is a dammed good music festival. It has everything .... Trad Folk-----Folk Rock-----Jazz----Bands--& singarounds, but not enough of the latter in my opinion. (Please can we have more singarounds).

When Bonny & Eddie Tonks stopped organising the festival it was it danger of folding then Hilary & Julian took it on and I think they have made a good job of it.

I am known as an out spoken old Traddy & I thoroughly enjoyed it & will certainly be there next year.

Most festivals, including my own, take a particular direction i.e. Trad Biased or Contemporary. Give this one a try if you fancy something a little bit different.

It needs a few TTTT's crossed & a few iiiii's dotted & it should be fine. Keep up the good work Hilary & Julian.

Guests included;
Kieran Halpin & Maartin Allcock, Shave The Monkey, Cuckoo Oak, Red 10, The John Richards Acoustic Band Caliche (Chile), Bob Wood, Mike Silver, Ken Wood & The Mixers, Mark Gwynne Jones, Keith Kendrick, Lvivski Muzyki (Ukraine), Tomorrow's Ancestor, Ceili House, The Real Deal, Jon Brindley, Mike Raven & Joan Mills, Wishful Thinking, The Fiona Simpson Band, Epic45, Portal, Claret, Feet First (Appalachian), Hoverla Ukrainian Dance Ensemble, Black Pig, Ryknild Rabble, Castle Clog, The Emerald Set Dancers, Skylarks Theatre Company

 Derek Brimstone - 25 May 2001
Genevieve Tudor and Allan Price

"Good night"
"What?"
"I said good night"
"But we're not home yet"
"No, Derek Brimstone"
"Oh, yes, excellent."
"Have you seen him before"
"Yes"
"I've only seen him do spots at festivals so it was good seeing him do a whole evening"
"Yes"
"Do people usually request jokes?"
"Probably."
"He's a brilliant guitarist. I didn't realise quite how good he was."
"He was classically trained I believe. Not often you hear classical banjo…"
"Oh. Bugger. I think those lights were on red."
"Never mind. At least you missed the lorry."
"He writes some amazing songs."
"Who?"
"Derek Brimstone!"
"Oh. Yes, he does. I like Fred and Ginger – most of his act is other peoples' stuff though."
"What – you mean cover versions? Mike Raven wouldn't approve of that."
"Hey, we won the raffle again!"
"It's getting embarrassing."
"Yes, but it'll make Bryn feel better about winning all those CDs from Sunday Folk."
"Does he alter the format of the act much? He seems to be very laid back"
"Who, Bryn? Isn't he a bit old to be a protest singer? Masters of War!"
"No, I meant Derek."
"Well, he's been doing it for years."
"What – the same thing?"
"I think he changes it when he changes his hat."
"Ah."
"I think he's on his third one now – the white cap was a mistake I thought."
"Yes, I wonder what happened to the little denim one he used to have…"
"Banjo was good too. I like the banjo joke."
"Yes, but last time I heard it it was the melodeon joke. Is it left here?"
"What, the melodeon? Yes, that was the point of the joke – nobody wanted it."
"Oh, never mind, I'll turn round."
"Good idea."
"Wasn't that strange, all the months we've said we ought to see Dave Onions, and there he was."
"He's not one of the residents there, is he?"
"No, there was him and us, I think all the others were though."
"Did 'Nothing to Prove' play tonight?"
"I think they did, but we were still fighting our way over the Staffordshire border at the time."
"I like the Woodman. They're very friendly and there's always a good crowd there."
"Mick Herringbone didn't sing tonight did he?"
"No. You should have gone left at the roundabout."
"Oh. Shall I turn round again?"
"No. If we carry on along here we'll get somewhere."
"Oh… Good."
"You'd think they would have given Ann the night off for her birthday."
"No, they'd have been the BIC band then."
"Razor sharp though!"
"Derek says he's only doing one booking a week now."
"Glad we saw him. He's a regular at the Woodman though – on a yearly basis."
"Yes. I think they'd go and pick him up if necessary."
"Well, I would too."
"I think he's worth it."
"I've heard some of the jokes before but he's got a real gift for telling them. Where are we?"
"I don't know. It's too dark to see the signpost."
"I should have had the light fixed. Oh, I recognise that pub over there."
"Yes. I expect the landlord would greet you by name and pour you a pint of the usual!"
"Probably."
"I suppose you wouldn't recommend him as required viewing for the younger generation."
"What? The landlord?"
"No Derek Brimstone."
"Ah. The knob jokes."
"Yes. I thought they were extremely funny."
"So did I."
"Shall we go to see him again when he's on around here?"
"Certainly. It was a good night."
"That's what I said."
"Did you? When was that then?"
"At the top of page 1. Can't you read?"
"Yes. But it doesn't account for why we're in Shrewsbury. We live in Coalbrookdale."
"Bugger. I meant to turn right at those lights."
"What lights?"
"The red ones, back there."
"Oh."
"So we'll be going again, then?"
"Where?"
"The Woodman at Kingswinford. They have some real classy acts on there."
"Certainly will."
"Oh good. Hey, I think I know where I am!"
"Well, it looks like the right house."
"By the way, what was that Pete Brown said tonight?"
"He wants us to write a review."
"Better get cracking then…"

Pete Morton - 8 June 2001
Sandra Hinsley

(In tribute to Robert W Service’s The shooting of Dan McGrew")

A bunch of old folkers were whooping it up at the Woodman Inn Friday night,
Pete Morton was singing and strumming guitar, and the kid was doing all right.
At the back of the room stood up by the bar, and drinking as much as man can,
Stood a motley collection of bar flies, and a lady known as San.

When all of a sudden the door swung back and in from the Arctic waste
There staggered a man whose name I knew well, but I could not remember the face.
"Am I too late for a drink" he cried with a wild-eyed manic stare?
For I have been to a 70’s night and it’s driven me to deep despair.
"Am I too late for a drink" he cried, "I’m in desperate need of some cheer,"
And lunging forward in desperate haste he fastened his teeth to a beer.

Now there comes a time in an old man's life when a drink has done all that it can,
And so his crossed eyes slowly straddled the room until they alighted on San.
Cursing and swearing he covered the floor to where on her stool Sandra swayed,
And grabbing her tightly by the left arm leeringly said, "now don’t be afraid".
"Don’t be afraid," he cried yet again for it’s sure that I mean you no harm,
For I have been out in the cold Arctic wastes and now I need to be warm.

Well Sandra stared down from her stool up on high, through a vapour of both grape and grain,
Saying "I have known many Welshmen before and never will trust them again."
"Not that I hate them" she slurred as she swayed, though they are a strange sort of man,
The perfumes they buy you all smell of mint sauce, and always they call you their lamb.
The stranger he winced and looked totally crushed, as the verbal boot battered his head,
And so seeking solace, and not a little relief said "lets talk of Pete Morton instead."

Well Sandra, then said "I have traveled many miles, to see Peter Morton this night,
And to see him standing alone with his songs is to fill my young heart with delight.
It was only last week that Cliff Richard I saw, as he trod on a famed London stage,
And now it is Pete Morton I view, who is at least only half of Cliff’s age.
It was only last week in the Royal Albert Hall that I saw Sir Cliff Richard perform
And now it is Pete Morton I view and the response is at least twice as warm.
It was only last week the entire city I saw as I circled the London Eye.
But now I sit here with a different view that’s as vast as the great northern sky."

For he sings with a voice that’s as wild as the wastes, where the tundra lies rugged and broken.
His songs are as deep as the great mountain lakes, formed from each thought that’s been frozen.
Songs of tradition or those written this night, whispering of needs yet unspoken,
Alone on the stage he howls to the night, like a Wolf in the wastes of the Yukon.

Tall Stories 15 June 2001
Viv Bamber

Our visits to the Woodman this year have been sadly few and far between, but this was a night we were not going to miss, as we know that an evening with Tall Stories is always full of good music and songs, fun and friendship. This was no exception.

Ian started the evening in the quadruple capacity of club organiser, MC, soundman and musician in his own right, since the BCA components of the BICA band had not yet arrived. With 'One Day' and 'The Little Pot Stove' he set the tone for a great evening of mostly contemporary songs from various sources and did so with great competence on all four counts! Bryn sang one of his happier numbers first (only one death) and followed with a World War One inspired number of mass slaughter. Then Nothing to Prove completed the excellent line up of support for the first half with a mixture of traditional and self penned songs given their own personal slant on things.

Tall Stories next, a trio with superb voices and instrumental arrangements, Ken Howard, Pat Ryan and Malcolm Gibbons, who take great delight in sharing their enjoyment of the music with their audience, giving us many choruses to join in with, as well as songs with thoughtful and sometimes even educational lyrics. Having checked out the sound system they began with an unaccompanied version of 'Only Remembered'. Then on through 'Todpuddle Men', 'Back of the North Wind', and 'All the Fine Young Men' as well as Pat's lovely versions of 'Across the Great Divide' and 'You'll Never be the Sun', to finish this set with Dougie Maclean's 'Feels So Near' starring Malcolm's harmonica as well as vocals and giving us a rousing finale to the first half of the evening.

By this time the rest of the Bica Band had arrived but only Barry took the stage to start the second half, having returned from Nottingham after a horrendous day's travel - mind you, we've just been there by canal boat and it took us 6 days each way. Nevertheless he was able to sing as beautifully as ever 'If Tomorrow Never Comes' and 'I May Not Have All The Answers' - self-accompanied too. Sue followed with her version of 'The Water is Wide' and 'Baby Can I Hold You Tonight' and then Tall Stories took the stage for the rest of the evening.

Again they began with lovely harmonies on an unaccompanied song, Jez Lowe's 'Coal Town Days', followed by part of the educational element of their repertoire. First a song about Ellis Island - Malcolm with harmonica break again - and then 'Strong Women', with the further history of Flora MacDonald - life after 'Over the sea to Skye'. Their own arrangement of 'Black is the Colour' followed by Archie Fisher's 'The Final Trawl' and then nostalgia for those of us who remember black and white TV when the heroes and villains could be easily identified by the colour of their hats - 'Roy Rogers is Riding Tonight'. All great songs to sing along to as well as to enjoy listening to the harmonies and the accompaniments blending beautifully to make a truly satisfying experience of contemporary folk song. Drawing towards the close of the performance now, we had two excellent numbers to join with in 'The River' and 'This Love Will Carry'. For the encore, again we had education, but also a great deal of fun with 'Amelia Earhardt' and paper aeroplanes with erratic flight paths!

A great evening and good enough to carry us on for another year or so, as their tours are dictated by school terms as well as other commitments, so that we have to take the chance to see and hear them when and where we can.

 I have put in a request for another CD to be produced, and hopefully they will also be back at The Woodman before too long so that we can all participate in another Tall Stories episode, as they both entertain us and share their love and enjoyment of the songs they present so well.

It was built the early ‘60’s but with only two lanes each way. They didn’t even build wide bridges to make it easy to increase the number of carriageways. So, when it was widened in the mid ‘80’s all the bridges had to be demolished and reconstructed. It has three lanes each way now and it gives you freedom, freedom to roam and to travel quickly to gigs. But, due to an unfortunate accident near Junction 5 it didn’t give the freedom of a clear run from Ross on Wye to The Boundary at Walsall. The red shirt brigade made it OK though after a hot and frustrating journey.

When we got there the sound check was in full swing, and it sounded good. The club was packed, the night was hot and the music enchanting. I had never seen Tala before. Sarah Jones and Duncan Gibbs I know and admire and now Lisa Watt was there to complete the line up.

The truth is that they were very, very good. Well, alright then, excellent.

We were treated to Sarah’s faultless guitar playing, Duncan’s effortless keyboard backing together with some dulcimer on Nos Dda Cariad. All this and the melodious, breathless imperative of Lisa’s voice that blended so well with Sarah’s confident tones produced a magical evening. It ended much too soon but this happens to all good things. As a further treat for the encore we did get ‘Avalon’, which I particularly liked.

Are they special? – Yes

Do they captivate an audience? – Yes!

Would I travel to see them again? – Yes!

Do I recommend them as a band to see? – Yes!

Listed below are the songs sung at Folk Plus

Songs in Bold are from their new CD ‘Freedom’ which was launched at Folk plus.

Dangerous Woman
And I Will Lead You 
Sing My Blues Away 
Wash Me
You’re What I Need 
Nos Dda Cariad
Don’t I Know 
Coventry
Right Heart
Freedom
Go For My Dream
Dear Beloved
Avalon 

If you need to know more get in touch with Sarah on sarah@bluebearmusic.demon.co.uk, or visit the web site www.bluebearmusic.demon.co.uk

A hot, height of summer evening greeted Vikki Clayton's vivid peacock-blue appearance here.

Harmonies by Hanky Panky ( the Munro half of the Bica Band) started off the evening in fine style. Bryn Phillips, ably assisted by Fergul, the frog mascot of the "naughty corner", regaled us with the Vicar's tale, to much laughter from the
audience.

The final act before the main attraction, Nothing to Prove, delivered a buoyant mixture of self-penned and traditional material. All the above artists had been delighted to play at a charity gig tthe previous weekend, to raise funds for
Sunfields School in Clent, and were definitely slick tonight! By the way, have you heard the one about the single mother with seven children, all called Wayne? Ask Dr Bedingfield! It's clean and it's funny!

Nothing to Prove handed over the stage at last to the star turn, who opened with a rousing version of Matty Groves - especially requested by Bryn - and then went on to promote her new CD, but not too intensely!

As a graduate of the Performing Arts, Vikki was able to elaborate at length on the origins of two Lincolnshire folk songs she sang, which owe their survival to Percy Grainger who, in the 20'5 and 30's, committed them faithfully to paper/manuscript/parchment! There were some curious omissions too, it seems. Some verses were too rude even for him to record!

"Looking at the stars" was for me the most memorable song of the night and "White Dress" was a wonderful parody, and I'm sure we each had our own favourite.

To see more of Vikki in the very near future, she will be appearing at Cropredy Church on Wednesday August 8th at 7.30pm. and at the Bridgnorth Festival!

 The Woodman achieved a real coup on Friday 6 July - a rare chance to see and hear Sean Cannon of The Dubliners on stage with his son James.

Sean has been a prominent figure on the British folk scene for as long as anyone can remember - certainly throughout the 30-year history of the Woodman. Singer extraordinaire, linguist par excellence, raconteur with a seemingly endless
fund of jokes and, above all, a man with a love and understanding of Ireland and all things Irish.

Sean started his career in the clubs and pubs of the Midlands, especially the Coventry area where he ran a folk club. As he became better known, he appeared at folk festivals and clubs the length and breadth of the country - often with
the Cannon Mobile Catering Service in tow. 20 years ago he joined The Dubliners which, considering he originally hails from Galway and has lived in England since he was a teenager, is a bit of a contradiction ! As well as rare solo appearances, he continues to tour with the band in the UK and abroad - watch out for their 40th anniversary album next year.

But the real surprise and treat of the evening came as 23 year old James took centre stage, making his Woodman debut. A lovely deep rich voice and some great guitar playing from a young man who is obviously destined to go places.
If you get the chance to hear him, grab it - you're unlikely to be disappointed.

Father and son - each a versatile singer in his own right - together, hugely entertaining as they slip effortlessly from their Irish heritage to Bob Dylan and Hank Williams and back again. They looked as though they were enjoying
themselves and the audience certainly enjoyed another great night at the Woodman - arguably the best folk club in the Midlands / the country / the world ?

 Writing in the Birmingham Evening Mail, Steve Johnston describes Martyn as having , one of the best voices on the folk scene' . I would go further, Martyn has THE best voice on the scene. Another packed room welcomed Martyn at the end of season night, bringing together club regulars and ardent fans of Martyn, some of whom are fairly recent recruits whilst others have been fans for most of his 30 plus years on the circuit. As usual, Martyn , s sets comprise a rich mixture of traditional and modern, British and Australian, with the odd surprise thrown in. In this latter category was a lively Victorian (the state, not the period), version of 'Golden Vanity" with a catchy chorus, which had the audience in full voice. Interspersed with Henry Lawson poems, many of which Martyn has put to music - 'Never never land' for example, were old favourites such as , Irish Lords' and' Across the Warego ' . No MWR performance would be complete without his versions of Eric BogIe songs. On this occasion we were treated to 'The Gift of Years' in the first set and 'Shelter' for the encore. The second set, lasting a full hour,
was notable for a set of four songs written by Graeme Miles, taken from Martyn's new CD ' Where Ravens Feed ' ( strongly recommended by the way) . Also included were a string of requests including 'The Rose' and 'The Banks of Claudy'.

As always, Martyn, the consummate professional, linked songs with stories, poems and anecdotes, some of which are loosely based on fact. With Martyn on this occasion was one quarter of 'No Man's Band' Irish Bishop whose accompaniments on concertina and accordion were sensitive and subtle, never detracting for a moment from Martyn's voice.

Another vintage evening, a wonderful way to end another great Woodman season. Well done to Ian & Ann, Bryn Phillips and 'Nothing To Prove' for providing the musical hors d'oeuvres.